Sorry, I forgot who recommended MURDER, HE SAYS — it was a good call, though, this was very enjoyable.

Never had a real handle on George Marshall as a director, his looong career having taken in just about every kind of entertainment, including another spooky house comedy, THE GHOST BREAKERS, which he explicitly, and I mean EXPLICITLY, references in this one (Fred MacMurray: “Did you ever see that movie, The Ghost Breakers?”) But he was clearly a guy with plenty of chops: apart from all the bizarre material crammed into this flick, which would have been entertaining in an eye-popping kind of way no matter who’d been in charge, there’s a farce sequence in a dark cellar with characters near-missing and mistaking each other which is really superb — on the page I bet it looked impossible.

Fred MacMurray (a little over-the-top but still likable — admits to being a sax player, too) is another Marshall, Pete Marshall, a census-taker who hasn’t heard the likely fate of such persons when they meet serial killers… Running into the psychotic redneck Fleagle family (a name I had previously only encountered by way of television’s The Banana Splits) he becomes involved in a search for buried loot in an environment that seems to anticipate certain aspects of THE TEXAS CHAINSAW MASSACRE. There’s also polonium-like poison being splashed about, causing various characters to glow in the dark, resulting in some striking visuals. Thanks to a good script and Marshall’s deft control, a movie that could have been as irksome as SHIT! THE OCTOPUS becomes a minor gem.

But why CAN’T I have a glow-in-the-dark Mabel Paige of my own?

Also worthy of note — Porter Hall, the man who can do anything, playing a weaselly bogus intellectual who has “dabbled in phrenology, psychology and the science of hyper-physical manifestation”; Mabel Paige as the rootin’ tootin’ grandma (and it’s hard for me to believe that mere months ago I was unaware that there WAS a Mabel Paige — today I am scarcely aware there’s anyone else); Jean Heather (Lola from DOUBLE INDEMNITY) as the sweetly simple Elany (somebody get her a date with Boo Radley); and leading lady Helen Walker, who we always call “The Honorable Betty Cream.” She takes a while to show up, though, causing Fiona to protest, “Oh, when is The Honorable Betty Cream going to appear? It’s like waiting for Groucho!”